Opening with a gentle acoustic guitar that is light on the ears, “Foreigner” gives off more of a laidback and relaxed introduction to the punishing sound that will follow. The instrumentation launches into more of sludge induced march with full bravado of guitars, drums, and rather cleans sounding vocalization that almost creates a constant contrasting nature within Sorrow and Extinction’s sound.
Rather than going straight in for the “kill,” Pallbearer would instead create more of a melodic centerpiece and suddenly leap into the spacious sound with lyrics that exclaim, “All along the dark and forbidden way, I can…I can feel their eyes and see their arcane thrones. So between my steps, I rest to gather up my strength, I must keep pushing onward.” Every track on Sorrow and Extinction manages an almost perfect segue into each following song, making the entire record feel as though it was completed in one single take.
More of a straightforward crush starts “Devoid Of Redemption,” allowing the instrumental to obtain a full, substantial sound. Each instrument present is able to make a significant impact; this is especially true during the break down where the drums from Zach Stine and lead guitar from Holt are able to work in tandem together, creating an aggressive build of energy that peaks with vocals from Campbell. Stine who is no longer with the band did exceptional work with his constant cymbal shifts where the ride and crash cymbals are used to provide the primary sound of his set.
Graceful, powerful, and Earth-shattering, “The Legend” is able to sound more in style to the “Stoner Rock” label where the melodies present are much slower and the music itself feels weighted, but droning as well. Interestingly enough, there is a huge amount of complexity and the majority of instruments all play a significant part in making Pallbearer’s sound completely unified. Even as the members play entirely different sections of music, the band still works as a machine, making every track have an enormous amount of chemistry.
Relying heavily on the guitars and percussion to make most of the sound of Pallbearer, there is more of a focus on the lyrical aspect on “The Legend”, where vocalist Campbell can gracefully add, “No more to breathe the air, to feel the warmth of summer. As I start to slip away, I know my time has come.” The lyrical style is seemingly lugubrious and lingers on the subject of death or the everlasting end.
As stated before, Pallbearer is more of an instrumentally driven band on Sorrow and Extinction and the following track, “An Offering Of Grief” shines through on their capabilities as instrumentalists. Able to create seismic activity through the rumbling bass-lines and overall daunting sound, Pallbearer is also able to manage a real sense of beauty behind their music. When “An Offering Of Grief” begins to snowball and pick up, becoming more rushed than at the original start. Pallbearer finds themselves using more echoing vocalization and downright wicked guitar solos that almost seem underwhelming when played beside the crashing cymbals and the anchor of a rhythm section, that lock the band in an outstandingly bold fashion.
Sorrow and Extinction is a gorgeous album and through the constant stages of metamorphic like changes where the band can shift the tone in a matter of seconds only continues to display a new factor in Pallbearer’s music. “Given To The Grave” shows in complete fashion where the sound can consistently twist from peaceful to blasting in only a moment’s notice. From Earth-shattering, to fading out, Pallbearer makes sorrow and extinction seem amazingly less bleak than it originally can sound.
Category: Misc. DayTags: An Offering Of Grief, Arkansas, Brett Campbell, Devin Holt, Devoid of Redemption, Doom Metal, Foreigner, Given To The Grave, Joseph D. Rowland, Little Rock, Mark Lierly, Matt's Music Mine, Matthew Ryan Miramontes, Miscellaneous Day, Pallbearer, Sorrow and Extinction, stoner-rock, The Legend